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Broken Glass
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'Broken Glass is a brave, bighearted attempt by one of the pathfinders of postwar drama to look at...
Ben Wheatley recommended Casino (1995) in Movies (curated)
Ben Wheatley recommended GoodFellas (1990) in Movies (curated)
Ben Wheatley recommended The Wolf of Wall Street (2013) in Movies (curated)
The Water Babies
6.0
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Shamed by his grimy appearance in the presence of an immaculate little girl, ten-year-old Tom — an...
The Conquest of Happiness
Book
In The Conquest of Happiness, first published by Liveright in 1930, iconoclastic philosopher...
Pamela; or, Virtue Rewarded
9.0
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One of the most spectacular successes of the flourishing literary marketplace of eighteenth-century...
Gareth von Kallenbach (971 KP) rated Kick-Ass (2010) in Movies
Aug 8, 2019
Kick-Ass starts out as a clever action movie with good humor interspersed throughout the first half, but by the second half the jokes trail off as the movie takes a blacker turn toward a mindless and confusing tale of morality.
Viewing this movie as a mindless action flick, it is impressive and at times humorous, albeit that humor, in the immersive first half, is deadened by the much darker scenes toward the end of the film. But if you’re trying to find a deeper message hidden behind the motivations and actions of the characters on screen, you perhaps would be better served by reading the comic first. The violence was surprisingly graphic for what started out as a clever and somewhat endearing highschool drama about not fitting in and trying to change the world for the better.
As the director of Layer Cake and Stardust, Matthew Vaughn has shown before that he knows how to do action and fantasy, and in this movie, the action scenes are tight and gripping and slightly surreal. You may even recognize a few cameos if you’re familiar with Guy Ritchie films.
Aaron Johnson, as the title character, brings a smart vulnerability to his part. As an overly ambitious, but well meaning comic book fan, his stabs at super-heroics were quite believable.
This movie may be titled Kick-Ass, but the most interesting character is Hit-Girl, played by Chloë Grace Moretz. Quite a few child actors come across as precocious, and Moretz is a welcome change. She shares some great scenes with Nicolas Cage, a vengeful father who has turned his 11 year-old daughter into a killing machine. Cage’s deadpan humor as Big Daddy matches surprisingly well with the giddy, foul-mouthed, black humor of Hit-Girl.
In a way, I may be doing the movie a disservice if I were to dwell on the plot holes, morality, and thematic elements of this movie which are clearly not the focused intent of the director. Not every movie is intended to be a deep and meaningful reflection on life, so in that regard, this movie is simply a blood-drenched charmer.
Viewing this movie as a mindless action flick, it is impressive and at times humorous, albeit that humor, in the immersive first half, is deadened by the much darker scenes toward the end of the film. But if you’re trying to find a deeper message hidden behind the motivations and actions of the characters on screen, you perhaps would be better served by reading the comic first. The violence was surprisingly graphic for what started out as a clever and somewhat endearing highschool drama about not fitting in and trying to change the world for the better.
As the director of Layer Cake and Stardust, Matthew Vaughn has shown before that he knows how to do action and fantasy, and in this movie, the action scenes are tight and gripping and slightly surreal. You may even recognize a few cameos if you’re familiar with Guy Ritchie films.
Aaron Johnson, as the title character, brings a smart vulnerability to his part. As an overly ambitious, but well meaning comic book fan, his stabs at super-heroics were quite believable.
This movie may be titled Kick-Ass, but the most interesting character is Hit-Girl, played by Chloë Grace Moretz. Quite a few child actors come across as precocious, and Moretz is a welcome change. She shares some great scenes with Nicolas Cage, a vengeful father who has turned his 11 year-old daughter into a killing machine. Cage’s deadpan humor as Big Daddy matches surprisingly well with the giddy, foul-mouthed, black humor of Hit-Girl.
In a way, I may be doing the movie a disservice if I were to dwell on the plot holes, morality, and thematic elements of this movie which are clearly not the focused intent of the director. Not every movie is intended to be a deep and meaningful reflection on life, so in that regard, this movie is simply a blood-drenched charmer.
Kirk Bage (1775 KP) rated Black Mirror - Season 1 in TV
Mar 3, 2020
The National Anthem - 7.5
Yes, it’s the one that got it all started; the one with the Prime Minister and the pig. A very clever, if repulsive, episode that explores the power of media and the notion that men in power will do anything to protect their image. As the maiden voyage of Black Mirror, we find that the writing, acting and production values are very strong. There is also a nice multi-layering on display that allows you to debate what this morality tale is actually all about.
Fifteen Million Merits - 7
Before Get Out made him a star, Daniel Kaluuya shows a lot of promise in this pure satire on riding the gravy train and the fast fix provided by reality shows and the dangling carrot of fame and fortune. The rich have their penthouses while the rest of us exist in a hamster wheel of repetition and unattainable dreams. Even the seed of anger and rebellion becomes the focus of “entertainment” in an amusing, but slightly weaker ending than most.
The Entire History of You - 9
A very strong idea, beautifully / horrifically realised, in one of my personal favourites to date. Implant technology allows us to record every moment of our waking lives and replay them through our own eyes or on a screen. The benefits of security, lost keys and legal issues are explored, before the episode descends into a personal nightmare as a brilliant Toby Kebbell begins to suspect his wife, future Dr. Who Jodie Whittaker, of having an affair; proceding then to be obsessed by the minute details of both their recorded “memories”. An exploration of paranoia and close relationships, whilst questioning the morality of privacy, and the role being able to lie to a loved one might have as a positive, not a negative. The genius of it is watching Kebbell lose his mind completely whilst never knowing until the end if his doubts have any validity at all. A technology it is terrifyingly possible to imagine as a reality – and a solution that exists with mobile phones and social media already: you can always opt out, even if that is painful.
Yes, it’s the one that got it all started; the one with the Prime Minister and the pig. A very clever, if repulsive, episode that explores the power of media and the notion that men in power will do anything to protect their image. As the maiden voyage of Black Mirror, we find that the writing, acting and production values are very strong. There is also a nice multi-layering on display that allows you to debate what this morality tale is actually all about.
Fifteen Million Merits - 7
Before Get Out made him a star, Daniel Kaluuya shows a lot of promise in this pure satire on riding the gravy train and the fast fix provided by reality shows and the dangling carrot of fame and fortune. The rich have their penthouses while the rest of us exist in a hamster wheel of repetition and unattainable dreams. Even the seed of anger and rebellion becomes the focus of “entertainment” in an amusing, but slightly weaker ending than most.
The Entire History of You - 9
A very strong idea, beautifully / horrifically realised, in one of my personal favourites to date. Implant technology allows us to record every moment of our waking lives and replay them through our own eyes or on a screen. The benefits of security, lost keys and legal issues are explored, before the episode descends into a personal nightmare as a brilliant Toby Kebbell begins to suspect his wife, future Dr. Who Jodie Whittaker, of having an affair; proceding then to be obsessed by the minute details of both their recorded “memories”. An exploration of paranoia and close relationships, whilst questioning the morality of privacy, and the role being able to lie to a loved one might have as a positive, not a negative. The genius of it is watching Kebbell lose his mind completely whilst never knowing until the end if his doubts have any validity at all. A technology it is terrifyingly possible to imagine as a reality – and a solution that exists with mobile phones and social media already: you can always opt out, even if that is painful.
Awix (3310 KP) rated Dirty Harry (1971) in Movies
Feb 17, 2018 (Updated Feb 17, 2018)
Supremely tough cop thriller that helped elevate Clint Eastwood to iconic status. Worthless hippie-scumbag Scorpio commences reign of terror in San Francisco, only laconic police detective Harry Callaghan has the spine to do what must be done in order to stop him.
Probably best not to think too hard about the morality and politics on display: they are at best deeply illiberal and at worst borderline fascist (antihero Harry doesn't give a fig about Scorpio's legal rights, tortures a wounded prisoner for information, etc). The film is playing with a stacked deck, anyway: Scorpio (nice performance from Andy Robinson - it almost ended his career, as he became so closely associated with the role) is an irredeemable monster, the embodiment of every concern respectable folks had about the 60s counterculture. Needless to say Harry (embodying traditional American values) shows no mercy as the story progresses. Story is very well-told, with just enough moments of ambiguity to keep it from being solely a piece of ultra-right-wing wish fulfilment. Essential Clint.
Probably best not to think too hard about the morality and politics on display: they are at best deeply illiberal and at worst borderline fascist (antihero Harry doesn't give a fig about Scorpio's legal rights, tortures a wounded prisoner for information, etc). The film is playing with a stacked deck, anyway: Scorpio (nice performance from Andy Robinson - it almost ended his career, as he became so closely associated with the role) is an irredeemable monster, the embodiment of every concern respectable folks had about the 60s counterculture. Needless to say Harry (embodying traditional American values) shows no mercy as the story progresses. Story is very well-told, with just enough moments of ambiguity to keep it from being solely a piece of ultra-right-wing wish fulfilment. Essential Clint.